“It is a great challenge to be the son of a great artiste. People have great expectations aboutyou and fulfilling them is not easy. It is indeed creditable for Shaunak, that he is proving his merit independently. Late Pandit Jitendra Abhisheki, Shaunak’s father and Guru, trained him in a very strict and disciplined manner since his childhood. Smt. Kamal Tambe of Jaipur Gharana has also provided instruction to him. Shaunak today has a large repertoire of Khayals in different Raags along with Thumris, Tappas, Dadras, Marathi Theatre-Songs and Hindi-Marathi Bhajans. He is showing total devotion to music. Even on the day of his father’s demise; after the cremation rites were over, Shaunak kept his schedule in a pre-planned programme and sung a Bhajan as the parting tribute to his father. So sensitively, it brought tears to the eyes of the listeners. Another notable fact is that he is not just immitating his father. With sensitivity and imagination, he is presenting his programmes wherein his individuality stands out. Over the last decade, he has given a number of programmes in India and abroad, proving himselfan able torch-bearer of his father’s musical legacy. This program, being released around the first death-anniversary of Pandit Jitendra Abhisheki can be regarded as an assurance from an aspiring son to an inspiring father.
This program reflecting Shaunak’s maturity has many notable aspects to it. It includes a traditional (Dhani) and a modern Raag (Madhu-Rranjani) together with a light-musical variety (Dadra). Out of the three compositions in Dhani, the first two compositions have been written and set to music by Pt. Jitendra Abhisheki. The third (in Punjabi) is a traditional one. Raag Madhu-Ranjani has been discovered by the sitar maestro Pt. Ravishankar. Both the compositions in it are by Pt. Jitendra Abhisheki again. The Dadra in Manz-Khamaj (or Mishra Tilak Kamod) is a traditional one. All through these compositions, we notice Shaunak’s systematic approach to development of the Raag. His seasoned voice, powerful taans, gamaks, bol-aalaps, sargam and expressive vocalization add a lot to listener’s enjoyment. Dhani : This is a pentatonic midnight melody that employs Sa, Ga (Komal), Ma, Pa and Ni (Komal). It is basically a folk melody associated with the harvest season. It has been sophisticated into a Raag structure and thus provides ample scope for systematic exposition. Shaunak has rendered each of three compositions in a very effective manner.
Madhu-Ranjani : Listeners would notice, this is somewhat similar to Raag Patadeep without the ‘Dha’. The ascent uses Sa, Ga (Kornai), Ma, Pa and Ni, the descent has Shudha Re is addition.
Dadra : The traditional Dadra, rendered here in a very expressive style, describes the pangs of separation experienced, 1py ayoung girl, in the month of ‘Saawan’.
|1||Dhani: ए बमना सगुन बिचारो - विलम्बित झुमरा (E Bamanaa Sagun Bicharo - Vilambit Jhumra)||Shaunak Abhisheki|
|2||Dhani: लंगरवा छाँड़ मोरी बैया - द्रुत तीनताल (Langarva Chhand Mori Baiyaa - Drut Teentaal)||Shaunak Abhisheki|
|3||Dhani: साडे नाल वे मियाँ, दिलवारिया - द्रुत तीनताल (Sade Nal Ve Miyan, Dilvariya - Drut Teentaal)||Shaunak Abhisheki|
|4||Madh Rranjani: ए री सखी आज श्याम सों मिलाय के - विलम्बित झपताल (E Ri Sakhi Aaj Shyam Son Milay Ke - Vilambit Jhaptaal)||Shaunak Abhisheki|
|5||Madh Rranjani: रंग से रंग-भीनी चुनरिया मोरी - द्रुत तीनताल (Rang Se Rang-Bhini Chinariya Mori - Drut Teentaal)||Shaunak Abhisheki|
|6||Dadra: लगा सावन मुझे दुःख देने भारी (Laga Savan Mujhe Dukh Dene Bhari)||Shaunak Abhisheki|